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THE SCOOP | Sinfonia Toronto Starts 2023 With A New Environmental Policy

Sinfonia Toronto (Photo courtesy of ST)
Sinfonia Toronto has announced the launch of a formal environmental policy. The board of directors issued a statement after approving the guidelines.
“Our goal is to offer a rich musical experience with a low carbon footprint. We are taking purposeful steps to reduce the climate and environmental impact of our events. We are working to make our policy inclusive of all stakeholders: our musicians, our patrons, our board and volunteers, and our sponsors and other partners.”
Working towards an environmentally sustainable society means looking at everything we do, and the ways we do it. The world of classical music, and the culture/entertainment industry in general, are paying more attention to their practices, including the Toronto ensemble.
Sinfonia Toronto’s music director Nurhan Arman says that the organization has always been “environmentally cautious.” It’s not the first time the orchestra has “This has been an ongoing concern that was publicly expressed in our 2003-2004 season programming — that entire season was thematically programmed and titled Playing for our fragile environment. Every concert included music inspired by the environment,” he said in a statement.
Along with thematic programming, the orchestra looks to reduce its environmental impact on several fronts.

It has eliminated the use of printed material for marketing and promotions, as well as accounting operations;
Emphasizing recycling, including the use of recycled materials wherever possible;
Online meetings to replace in-person committee meetings;
Using digital files for rehearsals, which represents thousands of pages each season;
Use of low carbon travel options for touring;
Among others.

Many orchestras across the world are focusing on similar initiatives. From the energy used in concert halls to the way that organizations are administered and the performances themselves, there are many aspects of the usual processes that can and should be re-evaluated through an environmentalist’s lens.
Sinfonia Toronto’s full environmental policy can be found on their website here.
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Anya Wassenberg is a Senior Writer and Digital Content Editor at Ludwig Van. She is an experienced freelance writer, blogger and writing instructor with OntarioLearn. Latest posts by Anya Wassenberg (see all)

LEBRECHT LISTENS | Maria Milstein & The Phion Orchestra Offer Intense, Devout Take On Prokofiev Concertos

Maria Milstein (Photo: Marco Borggreve)
Prokofiev: Violin concertos (Channel Classics)
🎧  Spotify | Amazon | Apple Music
The old French truism that the best is the enemy of the good — l’ennemi du bien est le bien — does not apply to musical performance. The best is simply the best. There are half-a-dozen recordings of the two Prokofiev concertos that stand way above the rest, whether by reason of primacy (Oistrakh, Heifetz), serenity (Janine Jansen, Perlman) or combustion (Vadim Gluzman, Leila Josefowicz). This does not, however, turn all the rest into also-rans.
On the contrary, my curiosity is often quickened by the arrival of a new recording, especially if the soloist is not a star name and the orchestra is one I have never heard before. Maria Milstein is a former Muscovite who lives in Holland and plays in a piano trio. The Phion Orchestra is made up of survivors from a 2019 merger of two Dutch ensembles.
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The Prokofiev concertos are, as ever, a challenge. Nathan Milstein — no relation — once told me that in olden times he or Heifetz would play them first in San Francisco, get on a train and play them 10 or 15 times at overnight stops, hoping to get it right by the time they reached Carnegie Hall. They had time on their side, which today’s supercharged schedules simply don’t permit.
Maria Milstein has taken her time. In her late 30s, she has put years into these neurotic, lyrical masterpieces, and it shows. Nothing that she does is routine, showy or ill-considered. Her expression is intense, devout even, bringing out an unsuspected romanticism, especially in the second concerto, which shares some phrases with the ballet Romeo and Juliet. The opening movement gets down and dirty on the dance floor, while its successor flickers with hints of Beethoven’s Moonlight Sonata.
Maria Milstein plays as if hearing — and arguing — with an inner voice; it could be Oistrakh, whom her family revered. But the approach is altogether her own, imbued with a personal intimacy.
The orchestra, conducted by Otto Tausk, is attentive, even a little awed. But, where world-class ensembles might swat away the difficulties, I enjoyed for once hearing the struggle that goes into bringing these works to life. The outcome is a real interpretation, not something manufactured around a record label’s conference table. This good performance is definitely an enemy of the best.
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Norman Lebrecht is one of the most widely-read commentators on music, culture and cultural politics. He is a regular presenter on BBC Radio 3 and a contributor to the Wall Street Journal, Bloomberg, Standpoint, Sinfini and other publications. His blog, Slipped Disc, is among the most widely read cultural sites online, breaking exclusive stories and campaigning against human abuse and acts of injustice in the cultural industries. Latest posts by Norman Lebrecht (see all)

FEATURE | Music Finance: Where The Real Money Is Being Made

Street musicians in Paris (Photo: Hands off my tags! Michael Gaida/CC0C)
At 28, Canadian pop idol Justin Bieber is making headlines with the sale of his entire publishing catalogue to Hipgnosis Songs Capital in a deal reported to be worth $200 million. The purchase covers all 290 titles in his catalogue (as of December 31, 2021).
It’s said to be the largest such deal for anyone under pensionable age — and it’s the biggest deal ever for Hipgnosis.
He follows in a long list of pop music luminaries such as Justin Timberlake, Bob Dylan and Leonard Cohen. Bieber’s deal is rare because his catalogue isn’t that old, as compared to many of the musicians and other rights holders who have taken the plunge.
What are they selling?
The artists in question are selling the rights to their work — in other words, to collect royalties largely from streaming of their back catalogue. That’s become more and more important as statistics show, people consume more older music than new.
When Kate Bush’s Running Up That Hill took the world by storm more than 35 years after its original release via Netflix’s Stranger Things TV series, it only accelerated an ongoing phenomenon. About 70% of the music consumed today is older music, leaving only 30% of the pie for new artists and material. It makes that existing music all the more valuable.
When a company buys the rights, the revenues from the music in question go into a kind of mutual fund. Investors purchase shares in the fund, and profit when the songs are streamed.
Next stop: the future
After investing in yesterday’s catalogues, the next stop is the future — or rather, a futures index. It would mean that investors could put their money on which songs would become the next streaming stars.
Chicago-based company Clouty — “at the intersection of data, music and finance, re-imagining the value of music by making it a tradable asset” — introduced the world’s first music trading index, MUSIQ™, launched in the summer of 2022.
Because of online streaming, metrics are now readily available to measure and analyze activity in the music sector. It’s led to the next step of the company’s vision, which is the release of the MUSIQ 500 composite index that will track various genres of music and their current market value. The company uses a proprietary method with multiple inputs to calculate the value of the top 500 songs at any given time.
Clouty is currently looking for an exchange-traded fund to make it easy for investors to jump into the game. Futures could be linked to specific genres, artists or even songs.
The push to introduce music futures funds follows a couple of years when so-called music funds have been spending billions of dollars on acquiring the ripe back catalogues of artists and producers.
More than pop
So far, the list of artists and rights holders who’ve cashed in has been dominated by pop stars, but the long list ( >100) includes some interesting names. When it comes to classical music, it’s composers and record labels who might be positioned to take the plunge.

Jazz icon John Lee Hooker’s complete music rights were sold to BMG;
Through the catalogues of Regent Music and Jewel Music, the music of Lionel Hampton, Thelonious Monk, and other jazz classics was sold to Primary Wave;
Academy Award-and Golden Globe-winning songwriter/movie music composer Tom Whitlock (Danger Zone, Take My Breath Away), sold his entire catalogue to Primary Wave;
Composer/producer Jean-Michel Jarre sold his entire publishing catalogue to BMG.

The value of the above deals is undisclosed.
Music — the consumption of it, not the live aspect of it — is virtually recession proof. Consumers have proven that their music listening habits are not affected by economic downturns in the same way that other industries are. Industry business analysts are calling for double-digit growth into the 2030s.
“Music is an asset class that’s hiding in plain sight and hasn’t been unlocked,” said David Umeh, founder and chief executive of Clouty said in an interview with the Financial Times.
Is it just us, or did it get a little cold in here?
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Anya Wassenberg is a Senior Writer and Digital Content Editor at Ludwig Van. She is an experienced freelance writer, blogger and writing instructor with OntarioLearn. Latest posts by Anya Wassenberg (see all)

FEATURE | Twelve Scintillating Violin Concerti To Take You From The Baroque To Contemporary

Violins by Sam (CC0/Pixabay)
The violin concerto is one of the most enduring orchestral forms. The earliest known examples come from Italian composer Giuseppe Torelli as part of his Concerti musicali a quattro, Op. 6, dated 1698. The most recent is being written right now.
Torelli was also a violinist, a contemporary of Arcangelo Correlli, and with him, credited with pioneering the Baroque version of the concerto. In general, it’s a piece that features a solo instrument or small group of instruments with the accompaniment of an ensemble. It’s an ideal piece to showcase the violin and all of its colours and range; perhaps that’s one of the keys to its enduring popularity. Many violin concerti have been written expressly for a specific performer.
Early Baroque concerti incorporated three movements. The first movement is often fast, followed by a slower movement, and finished by a faster paced movement. A cadenza, or solo improvised section, is thought to have been included as early as some Baroque compositions, and made its way into the Classical era. Many modern composers have expanded the concerto to four movements.
Here’s a sampling that will take you from the form’s beginnings to its current state.
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JS Bach: Concerto for Two Violins in D minor, BWV 1043 (1730)
The Concerto for Two Violins in D minor is often simply called the Double Violin Concerto. The exact date of its composition is not known, but scholars believe it was written during his Leipzig period, when Bach served as the city’s civic director of music. The piece was originally scored for continuo (or bass part) and strings, along with the two solo violins. Both soloists and the orchestra are drawn into a web of contrapuntal melodies.
In the video: David Oistakh, violin and Yehudi Menuhin, violin, with the Orchestre Chambre de l’ORTF, Pierre Capdevielle conductor, recorded live in Paris in October 1958.
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Joseph Bologne: Violin Concerto in A Major, Op. 5 (1770)
Because of Napoleon, we know few details about the works of Joseph Bologne, Chevalier de Saint Georges. After reinstating slavery in the French colonies, Napoleon ordered all of his works to be destroyed. It’s believed Bologne wrote his Violin Concerto in A major, Op. 5 in about 1770, during his early days in Paris. As a virtuosic player in his own right, we can only guess that he wrote it to perform himself.
In the video: Violinist Itamar Zorman performs the Israeli premier of the work with the Israel Chamber Orchestra, conducted by Ariel Zuckerman at a live performance at the Tel Aviv Museum of Art, February 2022.
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Beethoven: Violin Concerto No. 1 in D Major, Op. 61 (1806)
Beethoven’s only violin concerto was something of a flop at its premiere in 1806, as performed by Franz Clement. Possibly, it stemmed from the fact Clement was sight-reading, since Beethoven had only delivered the score at the last minute. It wasn’t until 1844, with Felix Mendelssohn conducting the London Philharmonic Society, and 12-year-old prodigy Joseph Joachim performing, that it would begin to see its revival into the orchestral staple it has become today.
In the video: Augustin Hadelich, violin, performs with the Finnish Radio Symphony Orchestra, Matthew Halls, Conductor, on May 13, 2022.
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Mendelssohn: Violin Concerto in E Minor, Op. 64 (1838-1844)
Mendelssohn’s Violin Concerto is the last concerto he composed. It’s been popular since its premiere. The composer wrote it for violinist Ferdinand David, a friend of Mendelssohn’s. It took six years from its inception until the first performance in 1845. Today, it’s considered part of the quintessential Romantic repertoire.
In the video: Ray Chen performs with the Gothenburg Symphony Orchestra and Maestro Kent Nagano live on February 28, 2015
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Max Bruch: Violin Concerto No. 1 in G minor, Op. 26 (1866)
Bruch’s Violin Concerto is one of his most popular works. Bruch conducted its premiere with soloist Otto von Königslow in 1866. Subsequently, he made some modifications in collaboration with violinist Joseph Joachim, and the form we know today was completed in 1867, and premiered with Joachim as the soloist in 1868.
In the video: Hilary Hahn performs with the Frankfurt Radio Symphony, Andrés Orozco-Estrada conducting, in Frankfurt December 9, 2016.
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Pyotr Ilyich Tchaikovsky: Violin Concerto No. 1 in D Major, Op. 35 (1878)
Depressed by his unfortunate marriage to Antonina Miliukova, Tchaikovsky had retreated to Lake Geneva, Switzerland, to work on his next piano sonata. Iosif Kotek, a composition student of Tchaikovsky’s, joined him there. The composer was inspired to write his violin concerto, and wanted to dedicate it to Kotek, who had helped him with rewrites, but worried about the way it would be perceived. He offered it to Leopold Auer, who rejected it. Eventually, it was premiered by Adolph Brodsky in 1881, where critics panned it.
In the video: An 18-year-old Maxim Vengerov performs the piece in Tokyo on June 30, 1993 with the Saint Petersburg Philharmonic and conductor Yuri Temirkanov.
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Sibelius: Violin Concerto in D Minor, Op. 47 (1904)
The original version of Sibelius’ only violin concerto premiered in February 1904 in a performance by soloist Victor Novacek. The reviews were terrible, and the composer spent a year revising it. The original version was kept under wraps by Sibelius’ heirs until 1991, when it was first authorized for a single live performance, and a recorded version by Leonidas Kavakos and conductor Osmo Vänskä.
In the video: Soloist Elina Vähälä performs the original version of the concerto with conductor Hannu Lintu and the Finnish Radio Orchestra.
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Alban Berg: Concerto for Violin (1935)
His violin concerto has become one of Berg’s best known and most performed works. It was commissioned by musician Louis Krasner, and Berg dedicated it to Manon Gropius, “to the memory of an angel”. Daughter of the architect Walter, and a muse of the composer, she had recently died of polio. It would be the last piece that Berg composed. Berg would die of blood poisoning from an insect bite in December of the same year. The piece premiered with Krasner as soloist in April 1936 in Barcelona.
In the video: Violinist Frank Peter Zimmermann with the Berliner Philharmoniker, Kirill Petrenko conductor.
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Dmitri Shostakovich: Violin Concerto No. 1 in A minor, Op. 77 (1947-48)
As Shostakovich was working on his only violin concert in 1947 and 1948, he was also being denounced by the Soviet regime. Stalin himself had decried his opera Lady Macbeth back in 1936. However, the composer toiled on, even knowing that his work would not be performed in the foreseeable future. It was dedicated to violinist David Oistrakh, who worked with him and eventually premiered it in 1955 (after Stalin’s death).
In the video: Violinist David Oistrakh performs with the Staatskapelle Berlin, Heinz Fricke, conductor, in Berlin, 1967.
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José Evangelista: Violinissimo (1992) Concerto for Violin & Orchestra (1992/1993)
Canadian composer José Evangelista’s Violinissimo was commissioned by the Valencia Music Institute for the Orchestra of Valencia. According to the composer’s own notes, he places the violin at the centre of the piece with a melody that underpins the harmonic structure, and is echoed by the orchestra. Evangelista uses the classic three-movement form consisting of: Acrobatic, Meditation and Vertiginoso.
In the video: Violinist Aaron Schwebel performs with the Esprit Orchestra, Alex Pauk, conductor, in November 2022 in Toronto.
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Unsuk Chin: Violin Concerto (2001)
Unsuk Chin’s Violin Concerto is notoriously difficult. Chin was composer-in residence at the Deutsches Symphonie-Orchester in Berlin when she wrote the piece. It was premiered by Viviane Hagner and the DSO in 2002 with music director Kent Nagano. Written in four movements, and with instrumentation that includes Javanese gong, marimbas and other percussive exotica, the concerto won the Grawemeyer Award for Music Composition in 2004.
In the video: Violinist Viviane Hagner performs with the São Paulo Symphony Orchestra, conductor Neil Thomson in May 2017.
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Aaron Jay Kernis: Concerto for Violin (2017)
Pulitzer Prize- and Grammy Award-winning American composer Aaron Jay Kernis didn’t know who James Ehnes was when he was surprised by a commission from the BBC to write a recital piece for him. However, he was quickly won over by the Canadian violinist’s abilities. It led to an ongoing friendship, and the creation of his Concerto for Violin. He uses a traditional three-movement form, and in his notes, calls the last movement “fast, zippy, and hair- raisingly difficult.”
In the video: James Ehnes gives the world premiere of Aaron Jay Kernis’ Violin Concerto with the Toronto Symphony Orchestra and conductor Peter Oundjian at Roy Thompson Hall on March 8, 2017.
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Anya Wassenberg is a Senior Writer and Digital Content Editor at Ludwig Van. She is an experienced freelance writer, blogger and writing instructor with OntarioLearn. Latest posts by Anya Wassenberg (see all)

WHO’S WHO | Ontario Pops Orchestra Releases Debut Album “Breaking Barriers”

(L-R) Featured soloists: Yanet Campbell Secades, violin; Tanya Charles Iveniuk, violin; Marlene Ngalissamy, bass

Music includes concertos and symphonic works by Mozart, Bach, and Vivaldi conducted by Music Director Carlos Bastidas
On March 31, 2023, the Ontario Pops Orchestra (OPO) releases its debut CD, Breaking Barriers. The album was released on digital platforms in Fall 2022. Three Black women are spotlighted as soloists: violinists Tanya Charles Iveniuk, Yanet Campbell Secades and bassoonist Marlene Ngalissamy. The recording includes concertos by Bach and Vivaldi alongside Holst’s St. Paul’s Suite, and “Eine Kleine Nachtmusik” and Symphony No. 40 by Mozart, all led by OPO founder, conductor, and music director Carlos Bastidas.
Inspired by watching broadcasts of the Boston Pops Orchestra as a youngster in his native Colombia, Bastidas founded the OPO in 2014 to foster musicianship in a positive, inclusive and supportive environment. One of the most diverse professional orchestras in Canada, the Toronto-based orchestra performs classical and popular music, provides musicians with performance and professional development opportunities, and highlights the work of women and BIPOC composers and instrumentalists.
The album release will be celebrated with a concert on March 31, 2023, at 8 pm at Toronto’s Trinity St. Paul Music Centre (427 Bloor St. W). Tickets are $20-$30 CAD and are available here.
Contact to request a physical CD or digital copy of this recording.

Disc 1
Symphony No. 40 in G minor, K. 550
by Wolfang Amadeus Mozart
[01] I. Molto allegro 8:35
[02] II. Andante 7:34
[03] III. Menuetto. Allegretto – Trio 4:28
[04] IV. Allegro assai 5:41

The Four Seasons, RV 315 “Summer”
by Antonio Vivaldi
[05] I. Allegro non molto 6:10
[06] II. Adagio e piano – Presto e forte 2:43
[07] III. Presto 3:02

St. Paul’s Suite for String Orchestra,
Op. 29, No. 2 by Gustav Holst
[08] I. Jig. 3:45
[09] II. Ostinato. 2:03
[10] III. Intermezzo. 4:14
[11] IV. Finale (The Dargason) 3:4

Disc 2
Serenade in G Major, K. 525 “Eine Kleine Nachtmusik” by W.A. Mozart
[01] I. Allegro. 6:18
[02] II. Romanze. 6:55
[03] III. Menuetto 2:16
[04] IV. Finale. 4:05

Violin Concerto in A minor, No. 1, BWV 1041 by Johann Sebastian Bach
[05] I. Allegro moderato 4:21
[06] II. Andante. 7:11
[07] III. Allegro assai 3:57

Violin Sonata No. 3, BWV 1005 by J.S. Bach
[08] I. Adagio. 4:59

Bassoon Concerto in E minor, RV 484 by Vivaldi
[09] I. Allegro poco. 4:45
[10] II. Andante. 3:38
[11] III. Allegro 3:11

Carlos Bastidas is the founder, conductor, and music director of the Ontario Pops Orchestra in Toronto and the emeritus conductor for the Durham Chamber Orchestra in the Region of Durham (Ontario). Born in Colombia, Maestro Bastidas studied bassoon, composition, conducting and chamber music at the University of Ottawa. In 2019, he received the Transformation Institute’s Transformation Award for Heritage, and was one of TD’s 10 Most Influential Hispanic Canadians. As found of Ontario Pops, he has steadily built the ensemble’s following and developed its reputation as one of the most diverse professional orchestras in Canada from its beginnings in 2014.
Born in Camagüey, Cuba, violinist Yanet Campbell Secades is an accomplished soloist, chamber and orchestral musician. She has performed throughout Europe and the Caribbean as well as in her home country Cuba. In 2015, she won the first prize at Cuba’s prestigious Unión de Artistas y Escritores Cubanos (UNEAC) competition, and in 2019 she was a prize winner at the Federation of Canadian Music Festivals’ National Competition. Yanet has performed at the Rheingau Musik Festival in Germany and the Mozartwoche in Austria. She received her Master of Music from Memorial University of Newfoundland and she is currently is in the Artist Diploma Program at the Glenn Gould School of the Royal Conservatory of Music in Toronto.
A native of Hamilton, Ontario, Canada with roots in Saint Vincent and the Grenadines, violinist Tanya Charles Iveniuk, has performed across North and South America, and the Caribbean. Recipient of the Women’s Art Associate of Canada – Luella McCleary Award, the Gabriella Dory Prize in Music, and the Hamilton Black History Council’s John C Holland Award, Tanya received a Bachelor of Music from the University of Toronto, and an Artist Diploma from the Glenn Gould School. She is the concertmaster of the Obiora Ensemble, and violinist with Ensemble du Monde (Guadeloupe), Toronto Mozart Players, and the Odin Quartet. Former posts include Associate Concertmaster of the Gateways Festival Orchestra and violinist with Sinfonia Toronto. Tanya is a dedicated educator, and an in-demand string adjudicator and clinician abroad as well as in Ontario.
Marlene Ngalissamy developed a deep passion for the bassoon at age 13. As her curiosity blossomed, she was accepted at the Montreal Conservatory of Music where she studied with Mathieu Harel and Stephane Levesque. She continued her studies at the Curtis Institute of Music with Daniel Matsukawa. She participated in workshops and programs around the world, including the Pacific Music Festival in Japan, the International Summer Academy of the University of Music and Performing Arts Vienna and the Pablo Casals Festival in France.
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THE SCOOP | New Book Looks To Give Touring Musicians Practical Advice For Life On The Road

Photo by Mohamed Assan (CC0/Public domain)
Much has been written about what is being called a mental health crisis in the music industry over the last few years. From 2022 into 2023, the concept rose to the spotlight after a string of concert cancellations by high profile pop artists, including Canadian singer-songwriter Shawn Mendes and American singer-songwriter/producer Santigold, among several others. Each of them cited the gruelling demands of touring and its effects on their mental health as one of the major reasons for their decisions to pull the plug.
A book set for release in 2023 looks to give touring music artists a helping hand. Touring And Mental Health — The Music Industry Manual, published in the UK by Omnibus Press, is set for release on March 23.
The collection of essays covers a gamut of topics aimed at helping touring artists preserve their mental and physical health on the road. It looks at managing crises as they come up (and they do), dealing with anxiety and depression, and maintaining physical health and well-being. The book incorporates personal anecdotes from a who’s who of the British music industry at all levels, including Nile Rodgers, Four Tet’s Kieran Hebden, and Philip Selway of Radiohead.
“I wish this book had been around when I first started touring”, says Selway in a media statement. “Touring And Mental Health can really help us all navigate the darker moments and the bumps in the road out on tour. The insights, wisdom and strategies from the mental health and medical experts, the tour crew, and musicians in this book are invaluable. It should be the first thing we all pack when we head out on the road.”
From promoter to psychotherapist
Touring And Mental Health was compiled and edited by Tamsin Embleton, a one-time music industry promoter turned psychotherapist. It was her experiences in the industry that led her to pursue a role as mental health professional. She went on to help found an organization called Music Industry Therapists Collective (MITC), where she is now director. MITC is behind the book’s genesis.
In an interview with IQ Magazine, Embleton says the mental health toll of touring has always been around, although in previous eras, it was called “exhaustion” and other terms that deflected the true nature of the problem. And, the data about the disproportionate rate of psychological problems among artists has been well documented for decades.
It took the latest push from organizations like Help Musicians to finally bring about the impetus for change in the UK.
Musicians and mental health
To an outsider, the life of a musician on the road is a kind of modern day ideal — life in hotels and restaurants, the glory of cheering audiences… Certainly, popular movies have done little to break the mystique.
The reality, as always, is much different, and hits artists on many levels:

Long periods away from home, family, and the familiar;
Lack of support when snags occur;
Disruption of proper sleep and eating routines;
Loneliness, depression and anxiety when shows aren’t sold out;
Performing at a peak level while negotiating all the vagaries of travel;
And those are only the most obvious drawbacks.

COVID-19 and the long lockdown has added to a general level of anxiety, and pressure to make up for lost time in the performing arts field. Economic insecurity, coupled with galloping inflation, adds more stress to the mix. Stress attacks the body as well as the mind, disrupting sleep and creating physical problems. For popular artists, too, the media can often enter the picture, and may make matters public before anyone is ready for it.
As Embleton told IQ Magazine, “You’re always ‘on’ — expected to deliver to exceptionally high standards night after night, no matter what role you’re in — and that’s hard to maintain.
There are great soaring highs (when performances go well) swiftly followed by lows — a roller coaster people are rarely adequately prepared for. It starts off as very exciting, but as Nile Rodgers said to me it can be gruelling.”
She advocates for support from within the industry, including mentorship programs, which can be difficult to sustain.
The 600-page book includes practical insights from performance coaches, psychologists, therapists, and other health professionals as well as artists who have firsthand experience to share. Topics covered include dealing with performance anxiety, addiction, keeping group dynamics positive, and others relevant to travelling artists.
The book is endorsed by UK music charity Help Musicians, among many others, and is available for preorder.
Certainly, there is more to be done to support musicians worldwide.
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Anya Wassenberg is a Senior Writer and Digital Content Editor at Ludwig Van. She is an experienced freelance writer, blogger and writing instructor with OntarioLearn. Latest posts by Anya Wassenberg (see all)